Artykuły w czasopismach na temat „Song in literature”
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1
Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature". Prooftexts 40, nr 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.
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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interpretation of Persian classical poetry, first and foremost the ghazals, the love poems by Hâfiz, while composing his work Der westöstlicher Divan . This article offers a comparative study of Goethe’s translation and interpretation of Song of Songs, discussing its major motives, the dialectic of profane love and the sacred, confusion and disorientation, drunkenness, erotic desire, and gender ambiguities. It refers to Goethe’s translation of the Hebrew poem also in conjunction with a critical, decolonial review of Weltliteratur (world literature). Goethe’s Song of Songs serves us as a map of literary interactions, in which the German, the Hebrew and the Persian are brought into conversation.
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Arifah, Aminatul, i Rani Ismil Hakim. "CLASSIFICATION OF EMOTIONS IN THE LYRICS OF NANCY AJRAM'S SONGS (DAVID KRECH'S PSYCHOLOGICAL ANALYSIS OF LITERATURE)". ALLAIS Journal of Arabic Language and Literature 3, nr 1 (1.07.2024): 60–74. http://dx.doi.org/10.22515/allais.v3i1.9275.
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Emotions are feelings that have a big influence on behavior. Therefore, emotions are an important aspect in human life. Humans have many ways to express the emotions they feel. For example, literary works include poetry, novels, films, dramas, diaries, biographies and songs. However, it is not uncommon for someone to use a foreign language song to describe their feelings, the lyrics of the song are not in sync with what the person wants to convey because they don't know how to translate the song lyrics, let alone the meaning of the song. . This research aims to find out what emotions are contained in song lyrics, especially Nancy Ajram's songs, based on David Krech's emotion classification theory. The research method used in this research is a qualitative descriptive research method in which the results of the analysis are described and qualified based on the existing theory. used is David Krech's emotion classification theory. The results of this research are, of the four classifications of emotions proposed by David Krech, not all classifications of emotions are found in the lyrics of Nancy Ajram's songs, Nancy Ajram's songs are suitable as a medium for expressing emotions, of course by knowing the contents of the song first.
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Rizqy, Titis. "Creativity of Teachers in Creating Java Song in Industrial Era 4.0". International Conference of Moslem Society 3 (12.04.2019): 296–304. http://dx.doi.org/10.24090/icms.2019.2332.
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Javanese literature includes a Javanese song which should remain popular among the millennial generation today which will meet the industrial era 4.0. The limitations of Javanese songs require teachers to increase innovation by means of continuous creativity to create Javanese songs where poetry and songs use compilation of existing songs. As well as the process of preserving Javanese songs, so that the growing age of Javanese, especially Javanese songs, is not left behind but still follows. Teacher creativity in the creation of Javanese song lyrics in the industrial revolution 4.0 era is based on song inspiration, the contents of song lyrics and the process of song lyrics.
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Ye, Ye, i Erxin Wang. "Yuan-Ming Sanqu Songs as Communal Texts: Discovering Their Literary Vitality from a New Research Perspective". Journal of Chinese Literature and Culture 8, nr 1 (1.04.2021): 113–38. http://dx.doi.org/10.1215/23290048-8898648.
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Abstract When examining songs in Chinese literature, we can distinguish among literary, musical, and communal aspects of their circulation. Sanqu songs became popular in the form of musical texts in the Yuan and Ming dynasties, but the ci song lyrics, by the Southern Song dynasty (1127–1279) if not earlier, had already become a form of communal text in a broad sense. While relying on musical and literary aspects in the early stages of circulation, such ci song lyrics also became increasingly meaningful as social artifacts characterized by diverse forms of usage and participation, and they have been widely appreciated as a “literary-cultural phenomenon” unrelated to music per se. Standard histories of Chinese literature typically interpret the interaction between Song dynasty ci song lyrics and Yuan dynasty sanqu songs and song-drama as a natural evolution of literary forms. To be sure, these histories address the vitality of the musicality and popular nature of such songs while also paying attention to the artistic styles, inherent characters, and originality of sanqu song composition (tige xingfen 體格性分). From such an analysis, however, we know very little about the textual forms and mechanisms of transmission of Yuan-Ming sanqu songs beyond the realm of music and songwriters. In this regard, this article explores whether it was possible for the ci song lyrics, as a literary genre of greater maturity and higher status, albeit divorced from music, to transfer its literary experience to sanqu songs. Such a line of inquiry is also relevant to the study of the survival of various forms of Chinese musical literature beyond their original environments. It also helps us think about the complex relationships between the musical and communal functions of ci song lyrics and sanqu songs.
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Desmarais, Jane. "Late-Victorian Decadent Song Literature". Victorian Literature and Culture 49, nr 4 (2021): 689–710. http://dx.doi.org/10.1017/s1060150320000224.
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This article considers the Victorian and Edwardian vogue for setting late-Victorian decadent poetry to music. It examines the particular appeal of Ernest Dowson's and Arthur Symons's verse to the composers Cyril Scott and Frederick Delius, whose Songs of Sunset (1911) was regarded as the “quintessential expression of the fin-de-siècle spirit,” and discusses the contribution of women composers and musicians—particularly that of the Irish composer and translator Adela Maddison (1866–1929)—to the cross-continental tradition of decadent song literature and the musical legacy of decadence in the late-Victorian period and beyond.
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Zitter, Emmy Stark. "Songs of the Canons: Song of Solomon and "Song of Myself"". Walt Whitman Quarterly Review 5, nr 2 (1.10.1987): 8–15. http://dx.doi.org/10.13008/2153-3695.1166.
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Haris, Muhammad Mufti, Muhammad Arba'in, Dian Kusuma i Noor Malihah. "How Song Affect English Teaching: Systematic Literature Review". Alsuna: Journal of Arabic and English Language 6, nr 1 (25.05.2023): 73–88. http://dx.doi.org/10.31538/alsuna.v6i1.3998.
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Purpose, this research has the purpose to find out whether song is effective for learning and what effects songs have
Design/methodology/approach, this research was Systematic Literature Review (SLR). Research data were taken by documenting and identifying published journals or article via structured keyword search on Web of science Google Scholar from 2016 to 2022. The researcher also limits the journals qualitative only
Findings/result, the result show that 15 Journals or articles stated about the impact in English learning. The researcher classified into three points. It was improving learners’ vocabularies, improving learners’ skill and creating the enjoying learning climate.
Originality/value, Song is still being one of the popular media or tools in English teaching. It is cheap and easy to get it. Song can be called an eternal medium. This research can be recommended for teacher as one of the media in English teaching
Paper type, Research Paper
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Niinre, Anneli. "The Role of Lyrics in Estonian Literature: Three Exemplary Cases". Interlitteraria 28, nr 1 (10.08.2023): 64–70. http://dx.doi.org/10.12697/il.2023.28.1.6.
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Song lyrics are usually positioned in the margins of literature and tend not to be in the first line when writers and their works are discussed. There have been debates about whether to consider lyrics as literature and/ or ‘real poetry’. The article examines three cases in Estonian literature where melodised poetic texts have played a significant role in Estonian culture and are considered to be core texts: “Mu isamaa on minu arm” (My Fatherland is My Love) by Lydia Koidula, songs from the feature film Viimne reliikvia (The Last Relic), lyrics written by Paul-Eerik Rummo, and “Laul Põhjamaast” (“Song of the Northern Land”), lyrics by Enn Vetemaa. These also represent three ways a text can function: “Mu isamaa on minu arm” was first written and published as a poem and later set to music; The Last Relic represents a case where texts were initially written as lyrics and later published in a collection of poems; “Song of the Northern Land”, by Enn Vetemaa, was meant to be and has remained a song and has not been included in poetry collections.
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Hiller, James. "Music Therapists’ Preparation for Song Discussion: Meaning-Making With the Music". Music Therapy Perspectives 37, nr 2 (2019): 205–12. http://dx.doi.org/10.1093/mtp/miz005.
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Abstract Songs are powerful catalysts and resources for change processes in music psychotherapy. Not surprisingly, music therapists often invite clients to listen to recordings of popular songs. A common song listening method is song discussion, in which a therapist selects a relevant song to explore with a client or group and facilitates the listening and subsequent verbal processing. In the relevant music therapy literature, lyrics assume a primary focus (i.e., lyric analysis), and yet, the music of a song, as integrated with its lyrics, impacts both client’s and therapist’s meaning-making and is therefore crucial to take into account. The purpose of the present investigative essay is to encourage music therapists to give attention to the music of recorded songs as they plan to facilitate song discussion. Herein I present a conceptualization of recorded popular songs and consider how one makes meaning from song listening processes. I urge therapists to prepare for song discussion through careful phenomenological listening and introspective interpretation. Finally, I describe procedures of a developing model for aural song analysis and interpretation based on Bruscia’s Improvisation Assessment Profiles (IAPs) with an abbreviated example viewed through multiple theoretical perspectives.
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Classen, Albrecht. "THE GERMAN KIRCHENGESANGBUCH: A LITERARY PHENOMENON OF THE SIXTEENTH CENTURY". Daphnis 30, nr 3-4 (30.03.2001): 665–89. http://dx.doi.org/10.1163/18796583-90000765.
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Musicologists and theologians have often paid close attention to the genre of the church song book which was basically created by Martin Luther, but soon found many imitators and developed into a genre on its own. Surprisingly, however, literary scholars have mostly ignored the church song books, although they contain highly valuable collections of sixteenth-century church songs, important prologues and epilogues, and other text types. The present article offers a broad overview of the genre, discusses major contributors, and also demonstrates that a significant number of religious women were also involved in composing church songs and in editing church song books. In fact, the analysis of this genre demonstrates that in the history of sixteenth-century German literature women were well represented and utilized the church song as a medium to find their own literary voice.
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Disch, Thomas M. "The Song of Songs". Hudson Review 51, nr 2 (1998): 367. http://dx.doi.org/10.2307/3853061.
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Setiowati, Shintya Putri. "PEMBENTUKAN KARAKTER ANAK PADA LAGU TOKECANG, JAWA BARAT". JURNAL ILMU BUDAYA 8, nr 1 (5.05.2020): 172. http://dx.doi.org/10.34050/jib.v8i1.9980.
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Indonesian culture is very diverse with forms ranging from dance, batik cloth, folklore, folk music and songs, traditional clothing, traditional houses, traditional food and drinks, traditional games, performing arts, rituals and so on. At the writing of this library research, the researcher focused on folk songs that are famous in West Java. The title song is Tokecang. The thing related to this song is that a simple song sung by children has a deep meaning. In this literature review, researchers associate Tokecang songs with the formation of children's characters. The formation of children's characters in the Tokecang song teaches that we, as social beings, must have an attitude of affection and social care. Affection is an emotional reaction to a person, animal, or object.
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Shih-Pe, Wang, i Erxin Wang. "Plays within Songs: Sanqu Songs from Literary Refinement (ya) to Popular Appeal (su)". Journal of Chinese Literature and Culture 8, nr 2 (1.11.2021): 307–40. http://dx.doi.org/10.1215/23290048-9299658.
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Abstract Through detailed analysis of several case studies, this essay investigates a special form of sanqu 散曲 song, namely, songs that embed references to dramas (quzhong daixi 曲中帶戲). A long song suite (changtao 長套) by Yuan author Sun Jichang 孫季昌 (fl. 14th century) is the best-known example of a pastiche of zaju play titles and dramatic protagonists intended to stimulate and guide readers' imagination. When late Ming dramatist Shen Jing 沈璟 (1553–1610) imitated Sun's pastiche song suite, he painstakingly sought to disrupt the obvious association between lyric and invoked play in an appeal to the literati aesthetic of lyrical indirection. Another, shorter song suite from the Ming, this one by an anonymous author, incorporates chuanqi play titles with little literary embellishment, catering to popular tastes. Finally, set to the tunes “Pipo yu” 劈破玉 and “Gua zhen'er” 掛真兒, popular songs featuring chuanqi play titles appear in three late Ming miscellanies. As these songs describe their source play's main protagonists and plot elements, they may be seen as expressing the voice of commoners and at the same time promoting ethical values. Taken together, these examples illustrate that it was not unusual for sanqu songs to incorporate dramatic references. This blending of song and drama can be traced to the arbitrary Yuan dynasty definition of yuefu 樂府 (literally, “Music Bureau songs”) and its relationship with sanqu songs. Thus the heterogeneous and inclusive nature characteristic of sanqu songs can be viewed in a new light.
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Stone, Michael. "The Interpretation of Song of Songs in 4 Ezra". Journal for the Study of Judaism 38, nr 2 (2007): 226–33. http://dx.doi.org/10.1163/157006307x180192.
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AbstractThe article deals with a passage of 4 Ezra that might well be an allegorical exegesis of Song of Songs. The usual allegory sees the bridegroom as God and the bride as Israel. 4 Ezra is contemporary with Rabbi Aqiba's statements on the allegory of Song of Songs, and is further evidence for the existence of allegorical interpretation. Yet it witnesses a different tradition of allegorical exegesis to the one usually found. This conclusion is compared with various views on Song of Songs and its interpretation.
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Han, Christina. "Turning Songs into Poems and Poems into Songs: Intersections of Literary Sinitic and Vernacular Korean in Chosŏn Literature". Sungkyun Journal of East Asian Studies 21, nr 2 (1.11.2021): 211–35. http://dx.doi.org/10.1215/15982661-9326219.
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Abstract This article investigates the dynamic intersections of Literary Sinitic and vernacular Korean and their impact on the innovations in poetry and song in fifteenth- through nineteenth-century Chosŏn Korea. More specifically, it traces the evolution of poetry or song discourse and explores the different strategies employed by Chosŏn poets and songwriters to render oral songs into text. It also investigates the differing views on the function of poetry and song, musical and textual preservation, and emotional and lyrical immediacy, which influenced the composition and translation of song-poems. The article probes the creative collaboration and competition between Literary Sinitic and vernacular Korean, and the fluid relations between translation and vernacularization. On the whole, it explores the ways in which the evolution of poetry-song discourse and the ensuing literary innovations contributed to Chosŏn's complex linguistic ecology.
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MacDonald, Ian F., Bethany Kempster, Liana Zanette i Scott A. MacDougall-Shackleton. "Early nutritional stress impairs development of a song-control brain region in both male and female juvenile song sparrows ( Melospiza melodia ) at the onset of song learning". Proceedings of the Royal Society B: Biological Sciences 273, nr 1600 (15.08.2006): 2559–64. http://dx.doi.org/10.1098/rspb.2006.3547.
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Birdsong is a sexually selected trait and is often viewed as an indicator of male quality. The developmental stress hypothesis proposes a model by which song could be an indicator; the time during early development, when birds learn complex songs and/or local variants of song, is of rapid development and nutritional stress. Birds that cope best with this stress may better learn to produce the most effective songs. The developmental stress hypothesis predicts that early food restriction should impair development of song-control brain regions at the onset of song learning. We examined the effect of food restriction on song-control brain regions in fledgling (both sexes, 23–26 days old) song sparrows ( Melospiza melodia ). Food restriction selectively reduced HVC volume in both sexes. In addition, sex differences were evident in all three song-control regions. This study lends further support to a growing body of literature documenting a variety of behavioural, physiological and neural detriments in several songbird species resulting from early developmental stress.
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Menn, Esther. "THWARTED METAPHORS: COMPLICATING THE LANGUAGE OF DESIRE IN THE TARGUM OF THE SONG OF SONGS". Journal for the Study of Judaism 34, nr 3 (2003): 237–73. http://dx.doi.org/10.1163/15700630360702794.
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AbstractContrary to what might be expected, the allegorical interpretation of the Song of Songs set forth in the Targum of the Song of Songs does not consistently portray God and Israel as male lover and female beloved. Instead, the Targum presents a multiplicity of additional metaphors suggesting the intimacy between divine and human counterparts throughout their history together, including the affective relationships between male friends and scholarly colleagues, siblings, infant and nurse, father and son, gardener and plants, and farmer and animals. Ambivalence towards sexual love and marriage as appropriate theological metaphors, sensitivity to the rich symbolic language of the Song of Songs and other scriptural passages, and celebration of the primacy of Torah study with male colleagues in rabbinic culture all contribute to this diversification of imagery, which builds on the emotive intensity of the Song of Songs even as it complicates the language of desire.
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Julyandini, Luh Nurcahya, Ni Nyoman Sariyani i Kadek Dwi Arlinayanti. "Feminist Language And Women’s Image In Balinese POP Song Entitled Wek Igis". International Journal of Multidisciplinary Sciences 1, nr 4 (11.11.2023): 450–62. http://dx.doi.org/10.37329/ijms.v1i4.2374.
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Balinese pop song has a simple characteristic and is easily remembered by the public because this song characterizes the expression of the author’s feelings, which are written into the content and the life phenomenon. Balinese pop song is highly favored among the Balinese people because it has its own characteristic of using the Balinese language and is easy to learn because it has simple lyrics. It has been proven that in Bali, many singers sing Balinese pop songs such as Widi Widiana, Panji Kuning, Yong Sagita, Dek Ulik, A.A. Raka Sidan, Putri Bulan, and Dek Arya. One of the most famous Balinese pop songs is Wek Igis. This song tells about how women are from the man's point of view and also contains love. Furthermore, this love song also expresses joy, sadness, and anger. There are two singers in this album entitled Wek Igis, namely Dek Arya, and Putri Bulan. This song is one of the songs that represent the feminist aspect or the image of women. The image of women is a form of mental-spiritual image and daily behavior expressed by women in various aspects, namely physical and psychological aspects as a woman’s self-image and family and community aspects as a social image. By the existence of the feminist language presented in the lyrics of the Balinese pop song entitled Wek Igis, it aims to preserve and develop modern Balinese literature, especially in Balinese pop songs, and to raise the degree of women’s image in society’s point of view. In this study, two theories were used in the manuscript: structural theory according to I.A. Richard (in Tarigan, 2004) and feminist psychoanalysis theory according to Marxists and Socialists (in Rosemarie, 2010). The research method was qualitative, while the supporting instruments were transcription, interviews, literature, and documentation. The data analysis used in this research was descriptive data analysis technique and qualitative data analysis technique. The results of this study discussed the structure of the lyrics in the song entitled Wek Igis. The lyrical structure of the song is divided into two, namely, method and essence. The data studied only focuses on diction (word choice), imagery, and rhyme, and the essence studied was only on the song’s message. The image of women is perceived from feminist psychoanalysis aspects, such as caring women and loyalty expressed through the song’s message. The feminist language in this song is also found in Hindu literature, specifically in the Manava Dharmasastra.
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Emerton, J. A., i Athalya Brenner. "The Song of Songs". Vetus Testamentum 40, nr 4 (październik 1990): 501. http://dx.doi.org/10.2307/1519235.
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Tyasrinestu, Fortunata. "Pemakaian Kosakata Tema Kesehatan dalam Penciptaan Lirik Lagu Anak". Resital: Jurnal Seni Pertunjukan 22, nr 3 (28.02.2022): 180–86. http://dx.doi.org/10.24821/resital.v22i3.5227.
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The Use of Health-Themed Vocabulary in Creating Children's Song Lyrics. Children's songs can convey the songwriter's messages and describe the children's lives and the environment through their perspective in the lyrics. In this context, the song is the unity of the melody and lyrics. In addition, songs can also function as a means of exploration, information, expression, and entertainment. This research was conducted to determine the description of health-themed vocabulary uses in children's song lyrics. How health vocabulary, especially in children's song lyrics, is used by children's songwriters. The study sample was a set of songs from a collection of the best children's songs, Dendang Kencana. The research used a descriptive-analytical method, which was preceded by a literature study followed by determining the lyrics of the health-themed song lyrics created by the songwriters of Dendang Kencana song album. Data collection was carried out by using the ten-song lyrics with scores. Those songs were the best songs chosen from the Dendang Kencana album. The two songs were the best-selected songs in the Dendang Kencana Children's Songwriting Competition in 2017. The lyrics were observed and recorded, and analyzed to determine the vocabulary used within the children's song lyrics. The vocabulary was then grouped and interpreted according to the purpose of this study. The results show that in children's songs, the vocabulary of the health-themed is often used by the songwriters to emphasize the importance of being healthy and healthy since childhood. The vocabulary is related to children's daily activities, such as bathing, washing hands, washing hair, maintaining a healthy body, exercising, eating nutritiously, and other movement activities.
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Ni Wayan Sariani i I. Wayan Rasna. "the Balinese Pop Song which was Semiotic Heuristic study". Widya Accarya 11, nr 2 (31.10.2020): 120–29. http://dx.doi.org/10.46650/wa.11.2.878.120-129.
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Abstract.
This research was about Balinese pop song which was Semiotic Heuristic study. The research underlined was the fact that occurred in the Balinese popular songs as a part of the literary work featured new vocabularies as well as old vocabularies modification and also a combination of vocabularies from other languages such as Indonesian and English, considered as the "Deviate" composition from the rules of standard grammar and literary conventions. The purpose of this research was to describe the phenomenon of linguistic structure in Balinese popular song texts and the philosophical meaning of the texts Balinese popular song based on semiotic-heuristic analysis. To be able to describe these purposes, semiotic theory and structuralism were used. This research used descriptive qualitative method. The data source was derived from two texts of Balinese popular songs entitled “Suksma Hyang Widhi” by Dek Ulik” and "Bungan Sandat" by AA Made Cakra. Both of these popular songs used different styles. The song of "Bungan Sandat" mostly used words based on the rules of language and literature that was, poetic. While the song titled "Suksma Hyang Widhi” mostly used a lot of ordinary words such as language used in daily life. There appeared some deviate words found out of the rules of grammar or literary conventions; however there were also words appropriately right based on the rules of language and literature, namely poetic, romantic, by symbolic and philosophical language styles. Based on the result analysis of those two songs heuristically towards the two texts of Balinese Pop songs were found the existence of violations of linguistic rules both grammatically, syntagmatically, paradigmatically, semantically and composition of these two Balinese popular songs.
Keywords: the text of balinese popular song, semiotic-heuristi, philosophical meaning
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Shcherbakova, O. S. "Folk songs of Ust-Pustinka village of Krasnoshchekovsky district of Altay region: based on 2021 folk studies data". Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 16 (2021): 309–13. http://dx.doi.org/10.37386/2687-0584-2021-16-309-313.
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This article is dedicated to the question of the modern existence of song folklore in ethnical culture of the dwellers of Ust-Pustinka village of Krasnoshchekovsky district of Altay region. Here represented the analysis of the folk song materials, executed by ASUC students together with the article’s author in the july 2021. Texts of historical songs and ballad songs, literature creation songs and chastushkas are given. The conclusion is given about the extinction of traditional peasant creativity, but, so far, the preservation of songs of later origin.
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Boldyreva, Indzhir M. "Песни о выселении калмыков и их возвращении из Сибири, записанные у информанта М. Б. Мудаевой". Бюллетень Калмыцкого научного центра Российской академии наук 15, nr 3 (25.11.2020): 251–63. http://dx.doi.org/10.22162/2587-6503-2020-3-15-251-263.
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Goals. The paper introduces texts of songs dealing with the Kalmyk deportation and its follow-up period recorded from M. B. Mudaeva. These songs illustrate the historical truth of 1943 nation-wide tragedy and enormous happiness of the ones to have survived and returned to ancestral lands. Materials. The work examines songs recorded by the scholars of Kalmyk Research Institute of Language, Literature and History (present-day Kalmyk Scientific Center of the RAS) from M. B. Mudaeva during the 1960 folklore research expedition in Yashkulsky District. The song Hal’mgudyg nүүlһsnә tusk dun (‘Song of the Kalmyk Deportation’) deals with the deportation itself, and the song Hal’mgud Sibrәs irsnә tusk dun (‘Song of the Kalmyks’ Arrival from Siberia’) depicts the successful return and universal joy of ones who after all reached their dear steppe. Conclusions. The work introduces the songs about deportation of Kalmyks and their return to their native land that have not been published before.
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Gladson, Jerry A., i Roland E. Murphy. "The Song of Songs: A Commentary on the Book of Canticles or The Song of Songs". Journal of Biblical Literature 112, nr 3 (1993): 525. http://dx.doi.org/10.2307/3267763.
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ÇITAKU, MUHAMED. "The Influence of “The Song of Roland” on the Legendary Albanian “Songs of the Frontier Warriors”". Revista de etnografie și folclor / Journal of Ethnography and Folklore 2023, nr 1-2 (2023): 98–105. http://dx.doi.org/10.59277/jef.2023.1-2.06.
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The epic poem The Song of Roland has had an immense influence on European literature over the centuries, including on the ancient legendary Albanian songs, The Songs of the Frontier Warriors. The relation between these two epics has only recently been studied, and hence, it represents an insufficiently explored field. Therefore, the purpose of this study was to enhance the research with new findings. Using a comparative method, in this study, we depicted the impact of The Song of Roland on The Songs of the Frontier Warriors using different layers. These included the abilities of the main hero, the fighting, the cult of the horse, the cult of the weapon, the threat that comes from the sea, the Moor who is the same as the Saracens of The Song of Roland, the figure of the sun, the dream, the lament, and the introduction of The Songs of the Frontier Warriors. By analyzing the influence of The Song of Roland on The Songs of the Frontier Warriors, the understanding of inter-European interactions that took place in the past, and subsequently the reciprocal relations between cultures, is improved. Keywords: The Song of Roland, The Songs of the Frontier Warriors, hero, horse, sword, sun.
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Humeniuk, Olha M. "Genre and Style Structure of Expatriate Folklore Lyrics by Crimean Tatars (“The Song of Cool Water”)". Studia Litterarum 8, nr 2 (2023): 242–67. http://dx.doi.org/10.22455/2500-4247-2023-8-2-242-267.
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Plot-motif treatment is one of reasonable in classification of expatriate song. It allows to distinguish prevail plot motif in the certain subgroup of corresponding folklore works. Investigating the song folklore by Crimean Tatars, we can rather clearly divide it by such principle. It is possible to determine the songs, where such motifs are dominant as moods and meditations concerning necessity of abandonment from native country, the troubles during departure and sailing to foreign land through sea expanse; the ordeals and severities of adaptation to new circumstances; bitterness of separation from nearest and dearest. Such principle is largely determined by very clear contours of epic narrative in lyrical exposition of these songs in spite of their emotional richness. Besides there are perceptible in folklore by Crimean Tatars rather extensive songs, where all mentioned motifs are combine. Folklore work “The Song of Cool Water” is the main object of study in the proposed article. The author pays attention on composition complexity of this song, on the peculiarities of its figurative structure. She stresses the penetration, vulnerability of its poetic intonations, versification originality.
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Tarasova, Tatiana, Dmitry Tishechkin i Varvara Vedenina. "Songs and morphology in three species of the Chorthippus biguttulus group (Orthoptera, Acrididae, Gomphocerinae) in Russia and adjacent countries". ZooKeys 1073 (29.11.2021): 21–53. http://dx.doi.org/10.3897/zookeys.1073.75539.
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Songs and morphology are compared between Chorthippus miramae (Vorontsovsky, 1928) that was previously named as C. porphyropterus and two other closely related species, C. brunneus (Thunberg, 1815) and C. maritimus Mistshenko, 1951. We compare them because the calling song of C. miramae was previously shown to have song elements similar to those of other two species. One morphological character, the length of stridulatory file, appeared to be the best character to distinguish between all three species. For C. maritimus and C. miramae, we present the morphological descriptions since they are absent in the literature. We also establish the synonymy C. maritimus = C. bornhalmi Harz, 1971, syn. n. = C. biguttulus eximius Mistshenko, 1951, syn. n. In the song analysis, we analyse not only the sound but also the leg-movement pattern, which is very helpful to find a homology between various song elements. We show that the calling song of C. miramae usually contains two elements, one element being similar to the C. brunneus calling song, and another – to the C. maritimus calling song. Despite some similarities, the calling song elements in C. miramae have some peculiarities. The courtship song of C. miramae is similar to the C. brunneus song, whereas the rivalry songs of C. miramae comprise both the maritimus-like elements and the unique ones. C. miramae generally demonstrates a richer song repertoire than the other two species.
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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)". Linguistics, nr 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
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Budiono, Arief, Kelik Wardiono i Arindra Puspita Sari. "CHILD CONSUMERS : A Study About Legal Protection Against Dangdut Koplo Songs Via Youtube". JUSTISI 9, nr 3 (29.07.2023): 217–32. http://dx.doi.org/10.33506/jurnaljustisi.v9i3.2262.
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This research, which aims to describe the legal protection of children as consumers of dangdut koplo songs, is based on legal research using a doctrinal approach. The main data in this study is in the form of secondary data obtained through a literature study of the dangdut koplo song which is broadcast via the YouTube platform. Based on the discussions that have been carried out, it is known that the dangdut koplo song still does not provide legal protection for children as song consumers, because it is contrary to Law Number 23 of 2002 concerning Child Protection. Keywords: dangdut koplo songs, child protection, consumers.
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Qonaatun, Aa. "Analysis of Solidarity to Human Rights as Reflected in the Song Lyrics titled "Hear Your Call" by Sami Yusuf". Journal of English Language Teaching and Literature (JELTL) 3, nr 1 (17.02.2020): 1–12. http://dx.doi.org/10.47080/jeltl.v3i1.783.
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This study try to analyze solidarity to human rights as reflected in the lyrics of the song entitled "Hear Your Call" by Sami Yusuf by using a sociological approach of literature. This study is a qualitative using content analysis method. The technique of study and data analysis is content analysis by identifying and interpreting the lyrics in the song, and then recognizes it as the data of study. Based on the analysis and discussion of song lyrics, it is concluded that there are 6 lines of song lyrics that contain of solidarity to human rights in the social, economic and cultural fields. Based on the sociology of the reader, it is concluded that the song is aimed to the reader or listener of the song, the lyrics contain the meaning and messages that want to influence their point of view and response after reading or listening to the song, and also expected to provide influence on the social conditions of victims in the flood disaster in Pakistan. The result of this study can be used as learning material in providing model of communicative English teaching through songs and also to support teaching materials in English Literature subject.
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Mukhopadhyay, Aju. "Communication in Art Song and Literature: Poems versus Novels". IJOHMN (International Journal online of Humanities) 4, nr 1 (14.02.2018): 1–6. http://dx.doi.org/10.24113/ijohmn.v4i1.74.
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The primary urge of a poet or writer is to create according to his inspiration but close to it is the urge to communicate with the reader. A singer requires hearer, a painting requires connoisseur. Well, even without the other parties, a poem and a painting may be created or a song may be sung. Think of the wind flowing through the reeds or bamboo grove or a bird’s song reaching the ethereal height creating a symphony in the air which is perhaps enjoyed by the silent Nature. Nature exactly does that. It is neither responsible nor obliged to tell man what it enjoys, how it enjoys itself but when a man hears them they become songs touching the heart of the pure sympathizers away from the hullabaloo of the mundane world. Go further and there are the unheard songs, unheard sounds; they are very much there for every sound comes out of silence. When Nature creates such things on its own without waiting for anybody to appreciate the things remain unknown until someone hears or looks at them. Man creates to communicate. If we consider songs it is definitely a field for communication between the singer and the hearer. Man’s creation may be said to be, in general term, artificial whereas Nature’s creation is natural. Nature recreates itself Man creates imitating Nature or otherwise. But I don’t wish to stop telling that Art is imitation only like our great Greek predecessors. The seer poets created words the way they heard. The higher and highest sources, it may be said the Divine sources, create through man as through the Nature.
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Prokopeva, Praskovya E. "Song inclusions in the fairy-tale folklore of Forest Yukaghirs". Sibirskiy filologicheskiy zhurnal, nr 2 (2023): 19–34. http://dx.doi.org/10.17223/18137083/83/2.
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This paper analyzes the song inclusions in the tales of Forest Yukaghirs, the content of such pieces, their purposes, and origin. Song segments are found in animal tales, including mythological ones, fairy tales about a Fabulous Old Man-eater, and everyday fairy tales. The song inclusions mostly convey the monological speech of the characters and include lexical repetitions. The song inclusions considered are mainly the magical appeal of one hero to another, a personal story, or a real personal situation. Some of them can be characterized as personal songs. Characters endowed with supernatural powers use the song as a magical ritual. These characters include heroes with shamanic powers and the ogre giant, the Fabulous Old Man. The magical potential of the song, aimed at summoning and embodying something, can also be evoked by ordinary people, even unintentionally. Songs-appeals of some characters to others are performed in magical situations, facilitating their manifestation. The fairy tales provide indirect indications of the shamanic power of the singing characters. Alternatively, the songs addressed to other persons can be performed by ordinary characters, usually represented by animals. Songs as personal narratives or real personal situations can be found mainly in the tales about animals. The song inclusions are based on the representations of shamanic activity, magical abilities, and the song type of storytelling, as evidenced by the existence of both non-fairy and fairy tale Yukaghir prose.
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M, Sankar, i Annadurai T. "Women's Expression in Lullabies". International Research Journal of Tamil 4, S-18 (8.12.2022): 255–58. http://dx.doi.org/10.34256/irjt224s1834.
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Literature is the mirror of life. Tamil literature portrays the background influences of human life. Folklore is a growing genre in Tamil literature. Folklore is the collection of incidents that occur in the life of the people from birth to death. Folk songs delight not only the singers and listeners but it also makes the poets and great peoples happier. Many poets are influenced by folk songs. Lullabies is a kind of folk songs. Lullaby is the first song that a child hears after his/her birth. Even the words are not understood by the child, the music of lullabies make child to fall asleep. Lullabies varies from region to region and from town to town. Although their purpose is the same, the theme, the situation, the mother's imagination and the words of the song vary according to their local dialect.
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Barbiere, J. Michael, Ana Vidal i Debra A. Zellner. "The Color of Music: Correspondence through Emotion". Empirical Studies of the Arts 25, nr 2 (lipiec 2007): 193–208. http://dx.doi.org/10.2190/a704-5647-5245-r47p.
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College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.
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Nur Hasan, Latif, Marsudi Marsudi, Respati Retno Utami, Meirina Lani Anggapuspa i Adinda Alfiranda Zahroh. "Desain E-modul Mata Kuliah Seni Tembang Macapat bagi Mahasiswa MBKM Lintas Program Studi". Paramasastra 10, nr 2 (12.10.2023): 241–60. http://dx.doi.org/10.26740/paramasastra.v10n2.p241-260.
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Cross-study courses are one of the programs of the Independent Campus Free Learning Curriculum. One of the courses offered across study programs by the Javanese Language and Literature Education Study program is the Macapat Song Arts Course. As a beginner learner in a song course, students will of course experience several problems, namely:1) The tone in the song is different from the tone of modern music (diatonic) which is usually heard and sung. Songs use pentatonic, so adjustments need to be made. 2) There are two types of tunings that students must also master, namely pelog and slendro with a different tone too. 3) Men's and women's voices have different ranges so they require different treatment. 4) the types of cengkok/types of songs in Macapat vary greatly, making it more difficult to memorize. In effort to ensure that students outside the Javanese Language and Literature Education study program need special treatment so that it is easier for them to take courses. Researchers in this case will design an Electronic Module for the Song Arts Course so that it can help students outside the Java study program learn Macapat songs. This research using the R&D Level 1 model, namely researching, producing designs, but not testing and producing them. Validation carried out by Javanese language material experts with a score of 3.7 and validation by design experts received a score of 3.78.
Keywords: E Module, Macapat Song Art, MBKM Lintas Prodi
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Park, Young Shin, Hyunjin Moon i Yunhee Seung. "A Study on the Aspects of Children's Song Festival Winning Songs Included in Elementary School Music Textbooks". Korean Association For Learner-Centered Curriculum And Instruction 22, nr 19 (15.10.2022): 533–50. http://dx.doi.org/10.22251/jlcci.2022.22.19.533.
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Objectives Looking back at the 100-year history of creative children's songs, the ‘Children's Song Festival’ proves to have had a great influence on the development of children songs. The first purpose of this study is to investigate all Children's Song Festival winning songs included in elementary school music textbooks according to the educational curriculum change. The second purpose is to analyze the aspects of those winning songs published in music textbooks. Methods To do so, this study conducted a combination of literature reviews and research study methods, and analyzed Children's Song Festival winning songs in music textbooks. These songs were those that were included in 3~6 grade elementary school music textbooks from the fifth curriculum period (1987~1991) until the current 2015 revised curriculum; meaning all winning songs in elementary school music textbooks since the first Children's Song Festival of 1983 were analyzed. Results First, an analysis on ‘Children's Creative Song Festival Winning Songs and Number of Songs’ shows that out of the total 96 winning songs, the majority of winning songs were from the MBC Children's Song Festival - a total of 69 songs (71.9%). Second, upon analyzing the ‘Number of Times Festival Winning Songs were Published’, it was found that the number increased as the curriculum changed and as textbooks went up to an older grade level. The textbook publisher ‘Genius Education’ had the most winning songs within their textbooks - a total of 43 times (15.8%) were winning songs published. Third, after analyzing the ‘Name and Number of Overlapping Winning Songs’, it was revealed that there were 51 overlapping songs, the song that was published multiple times in music textbooks was <On a Train Ride> from the 1st KBS Children's Song Festival - a total of 13 times. The songs <Island Village> and <Walking in the Woods> were published 11 & 10 times respectively - both songs were from the 4th MBC Children's Song Festival. Songs that are continuously included in music textbooks are <On a Train Ride> and <Walking in the Woods>. Conclusions The act of singing creative children songs gives children hope, courage, the chance to dream, and holds an educational meaning that allows them to experience the beauty of music. Thus, continuing discovery and supply of creative children's songs are of great significance. Since Children's Song Festivals, which has played a huge role in the development of creative children's songs, are no longer as common as before, a new developing method that fits current society criteria must be sought out.
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K, Vennila. "The Doctrine of Aesthetics in Purananuru". International Research Journal of Tamil 4, S-13 (21.11.2022): 205–12. http://dx.doi.org/10.34256/irjt224s1329.
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Sangam literature occupies a unique place in classical literature and is a mirror that accurately reflects the lives of the people. Both the books, Ettuthozhi and Pathupaattu, are called "Sangam literature." This is also known as the "Pathinenmerkanakku." "Kanakku" means song. "Merkanakku" means a song having a lot of lines. The total number of lines in Sangam literature is 26,350. Agam (1862) and Puram (519) are two of the 2381 songs known from literary histories. The songs on love and war were compiled and named "Sangam literature," which remained extinct in the ocean planet, termite, and time flood. Of the eight volumes of Sangam literature, the book Purananooru contains four hundred (400) verses on external subject matters such as the greeting of God. This book shows the virtues of aesthetics through traditions, governance, way of life, historical elements, mythological stories, warfare, the superiority of friendship, the king’s bravery, and the skill of women.
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Suryani, Azizah, i Neneng Nurjanah. "MENGGALI MATURITAS DIRI: KAJIAN METAFORA PADA LIRIK LAGU ALBUM RIUH". Bahtera: Jurnal Pendidikan Bahasa dan Sastra 22, nr 2 (13.07.2023): 154–64. http://dx.doi.org/10.21009/bahtera.222.03.
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This study examines the concept of self-maturity in the metaphor on the Riuh album created by Feby Putri by utilizing a qualitative approach using literature study techniques. The researcher focuses on the metaphors in Riuh's album through song lyrics which consist of ten songs. The data in this study is descriptive data that describes the concept of self-maturity in the metaphor of the song lyrics on the album 'Riuh'. The data source for this research is the verses in the song lyrics on the album 'Riuh'. The findings are 1) the researcher only took 4 different songs as research material, 2) there were 12 metaphorical data showing self-maturity in the lyrical verses studied
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Nurfithri, Nurfithri. "N Analysis of Lexical and Contextual Meaning in Elevation Worship’s Song Lyrics". JIIP - Jurnal Ilmiah Ilmu Pendidikan 5, nr 7 (8.07.2022): 2460–64. http://dx.doi.org/10.54371/jiip.v5i7.715.
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This research focusses on analyzing lexical and contextual meaning in Elevation worship’s song lyrics. By listening to the songs, we can get knowledge about appreciation literature and the background of the song. Therefore, the researchers were interested in analyzing the kinds of meaning used in Elevation Worship songs. The researchers dedicated to give the title of this research “An Analysis of Lexical and Contextual Meaning Elevation Worship’s Song Lyrics”. The problem of this research are: (1) what are the lexical and contextual meaning in the Elevation Worship’s Lyrics? (2) What percentage of the lexical words that contain the contextual meaning in the “Elevation Worship’s” song? The researchers took five songs from different album. This research uses a descriptive method by analyzing the research object of Elevation Worship Song Lyrics. To obtain the data, the researchers collected the data from Elevation Worship’s Song Lyrics and from internet. After that, the songs which contain lexical and contextual meanings were selected. The result of this research are as follows: (1) related to the lexical meaning, while (2) related to the contextual meaning. The researchers found 25 lexical words or 29.64% of five data that contain the contextual meanings. Thus, the researchers expect this research will be useful for the other researchers who are eager to obtain more knowledge about semantic field. Moreover, semantic is an important branch of linguistic that is interesting to be studied, especially when it is applied to literary works, such as songs or poem etc.
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Gershowitz, Uri. "“The Best Thing in Poetry is a Lie”: Perception of the Song of Songs in Medieval Jewish Philosophical and Theological Thought in the Light of the Arab Aristotelian Approach to Poetics". Voprosy Filosofii, nr 7 (2022): 184–98. http://dx.doi.org/10.21146/0042-8744-2022-7-184-198.
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This article deals with the question of how the Jewish Aristotelians, followers of Maimonides, combined the exclusive status of the Song of Songs with the notion of the falsity of poetry. According to Aristotle’s Arabic commentators, poetics is part of the logical organon. The poetic syllogisms are based on deliberately false premises and rules of inference, and thus poetic discourse is the lowest in the hierarchy of the logical corpus. At the same time, the following Talmudic maxim is known: “If all Scripture is holy, then the Song of Songs is the Holy of Holies”. Thus, Jewish theologians, having assimilated the Arab Aristotelian approach to poetics, were faced with a difficult task: how to explain the supreme status of the Song of Songs in the biblical canon if this book is written in the language of lies? In the works of medieval Jewish theologians we do not find a clearly formulated solution to this problem, which may be due to the fact that the Song of Songs was often associated with an undisclosed esoteric theme. This article will describe the range of views of medieval Jewish thinkers on the role of poetic speech in the Song of Songs and provide an overview of researchers’ attempts to formulate a solution to the above problem. An analysis of a number of texts by medieval Jewish commentators will offer a response not found in the research literature to the question of combining the high status of the Song of Songs with the deliberate falsity of poetic discourse. According to our reading of Moshe Ibn-Tibbon’s commentary on the Song of Songs, the false language of poetry helps to avoid the illusion of comprehension where positively formulated knowledge is impossible.
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Darningwati, Darningwati, Erwanto Erwanto i Yepi Okmita. "Kumpulan Lagu Daerah OKU: Sebuah Kajian Gaya Bahasa dan Implikasinya dalam Pembelajaran Sastra di SMA". Stilistika: Jurnal Pendidikan Bahasa dan Sastra 16, nr 1 (31.01.2023): 145. http://dx.doi.org/10.30651/st.v16i1.15665.
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OKU Regional Song Collection: A Study of Language Style and Its Implications in Learning Literature in Senior High SchoolABSTRAKLagu daerah OKU bercerita tentang daerah OKU yang kaya budaya dan adat istiadat masyarakatnya. Lagu ini merupakan kekayaan daerah dan lambang Lagu daerah OKU ini menggunakan bahasa daerah yang sederhana dan syarat makna. Lagu ini diciptakan menggunakan gaya bahasa yang menarik. Tujuan penelitian ini mendeskripsikan gaya bahasa yang terkandung pada kumpulan lagu daerah OKU dan implikasinya dalaam pembelajaran sastra di SMA. Jenis Penelitian yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan metode deskriptif. Pendekatan yang digunakan adalah pendekatan stilistika. Sumber data adalah tujuh lirik lagu yang berjudul Gue Putri, Cindenye Gadis OKU, Nasib Badan, Baturaja, Sepatu Balam, Aiyakh Ugan, Kinaklah OKU Pengumpulan data menggunakan teknik simak dan teknik catat. Teknik analisis menggunakan analisis isi. Berdasarkan hasil analisis diperoleh data bahwa gaya bahasa dalam kumpulan lagu Daerah OKU meliputi gaya bahasa aliterasi, asonansi, anastrof, asidenton, dan simile, litotes, dan afopasis. Hasil penelitian dapat diimplikasikan dalam pembelajaran sastra di SMA pada semester X. Kata kunci: Gayabahasa,lagu daerah,pembelajaran sastraABSTRACTThe OKU regional song talks about the OKU area, which is rich in the culture and customs of its people. This song is a regional treasure and a symbol. This OKU regional song uses simple regional language and terms of meaning. This song was created using an interesting language style. The purpose of this study is to describe the style of language contained in the collection of OKU folk songs and its implications for learning literature in high school. This study employed a qualitative research design with a descriptive method. The approach used is a stylistic approach. The data sources are seven song lyrics entitled Gue Putri, Cindenye Gadis OKU, Nasib Badan, Baturaja, Sepatu Balam, Aiyakh Ugan, and Kinaklah OKU. The data was collected using listening and note-taking techniques and analyzed using content analysis techniques. Based on the results of the study, it can be concluded that the style of language in the collection of OKU Regional songs includes alliteration, assonance, anastrophe, asidenton, simile, litotes, and apopasis. The results of the study can be implied in learning literature in high school in semester X.Keyword: Language style, folk songs, learning Indonesian literature
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Cardany, Audrey Berger. "Using English Language Arts to Teach a Song". General Music Today 30, nr 2 (27.10.2016): 18–24. http://dx.doi.org/10.1177/1048371316671362.
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Music and reading domains require similar auditory processing skills. Students employ these skills when learning a new song through an oral/aural or rote-teaching approach. In this article, I review literature on the effectiveness of immersion and phrase-by-phrase approaches for teaching a song with or without words. Then, using an amusing analogy, I suggest a process for using the English language arts to teach a song using a rote approach. Two lessons are described that include prompts to aid teachers in analyzing songs to teach music through language.
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Septiani, Wicy Elvi, i Indra Yeni. "STIMULASI LAGU DALAM PENGEMBANGAN SENI ANAK USIA DINI". JCE (Journal of Childhood Education) 5, nr 1 (19.04.2021): 96. http://dx.doi.org/10.30736/jce.v5i1.498.
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This research is motivated by the importance of providing song stimulation in the development of early childhood arts, while in reality the provision of song stimulation by teachers in schools still limited due to the limited production of children's thematic songs. So that it takes the teacher's ability to create simple songs according to the thematic needs of learning. This study aims to provide the elements of children's songs, namely melody, harmony, rhythm, lyrics, and tempo. Type of research used is literature study. Data were collected by reviewing and reviewing several relevant reading sources, such as scientific journals and related reference books. Furthermore, the elements that must be considered in early childhood songs are analyzed. From the research, the results show that the lyrical elements of children's songs must be positive and simple, the range and jump of the melody is right, the use of basic harmony starts and ends with level I chords, the use of a 1/4 or 1/8 rhythm, and the tempo according to the impression of the song to be shown. Thus the teacher can continue to provide song stimulation in the development of early childhood arts.
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Emerton, J. A., i M. D. Goulder. "The Song of Fourteen Songs". Vetus Testamentum 36, nr 4 (październik 1986): 506. http://dx.doi.org/10.2307/1518344.
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Hirsh, Hannah. "Song". Yale Review 108, nr 3 (2020): 106–7. http://dx.doi.org/10.1353/tyr.2020.0000.
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Burt, Stephanie. "Song". New Literary History 50, nr 3 (2019): 339–44. http://dx.doi.org/10.1353/nlh.2019.0022.
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Smith, Simon. "Song". Textual Practice 33, nr 8 (8.08.2019): 1471–73. http://dx.doi.org/10.1080/0950236x.2019.1648422.
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Hirsh, Hannah. "Song". Yale Review 108, nr 3 (24.09.2020): 106–7. http://dx.doi.org/10.1111/yrev.13670.
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Cokki, Sharon Nathania i Haris Maupa. "Product Placement On Indonesian Rap Song". Jurnal Manajemen 27, nr 1 (1.02.2023): 62–85. http://dx.doi.org/10.24912/jm.v27i1.1097.
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Product placement literature has two gaps, namely research in developing countries including Indonesia and song as media placement. This study aims to fill this gap by testing the effectiveness of product placement in Indonesian rap songs on three aspects of consumer behaviour. The research design used pretest and post-test experiments without a control group involving 74 undergraduates as participants. The treatment used in this research is the song. It's a Dad Thing by Saykoji. The results showed that product placement on the song had an effect on brand recall, attitude towards the song and product placement influenced by attitude towards the artist, and purchase intention influenced by attitude toward product placement.
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Santhirasegaram, Sinnathamby. "Song Composition Systems of Sri Lankan Tamil Rural Poets". Shanlax International Journal of Tamil Research 5, nr 2 (1.10.2020): 19–25. http://dx.doi.org/10.34293/tamil.v5i2.3485.
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There is a long tradition of folk song called Folk ballads (Kaddup padalkal) among the Sri Lankan Tamils. These songs, written by somewhat literate rural poets, are written on the paper or published as pamphlets, as small print copies. But, in their practical way, they are mostly handed over orally.When these Folk ballads (Kaddup padalkal) compose by the rural poets, they follow some rules and regulations. Linguistic regulations are the main one of them. These rules clearly distinguish oral literature from written literature. It has been generally followed that songs should be composed mainly on the basis of various verbal elements. Namely, different features follow the same repetitive methodology.Similarly, we can observe that there is more similarity in the rhythm of the songs. They have been singing their songs in certain rhythms. Thus, they have adopted the method of using oral song forms such as epic, ammānai, sinthu, kummi, thālāttu, oppāri, kavi according to the nature of the objects. Their form and music structures are mostly similar to folk songs.Moreover, a general structure has been followed to the theme of the songs.